Most of the houses were built on plains between mountains and were gone. As I walked through the debris, I found very few signs of life. What I did find — spotted throughout the rubble — were photographs. They held what few fragments of people’s lives still remained.
Archive for March, 2011
We saw this video camera — with an expensive Nikon long lens — sitting on a stone in the rubble. We looked inside the camera. There was a memory chip inside. The lens was filled with water. It was not broken; that was suprising. I felt a connection when I was holding the lens, because it was a professional sort of lens. I was wondering what happened to the owner of this lens and the video camera sitting next to it. We are still trying to see what’s on the memory card. There’s water damage and we don’t know if we can discover whatever’s inside, but we’re curious. There’s a name and an address and a phone number of the person on the camera. I know that the mobile phone doesn’t work, but we’re wondering if the person is somewhere. The photographer lives in the town that’s completely wiped out. So we’re just guessing — maybe he was filming until the tsunami came. I don’t know what happened to him.
“Alex McLeod constructs hyperrealistic 3D environments filled with crystalline mountains, fiery lakes, and rotund clouds, all rendered in a sickly sweet and gooey candy-colored palette. Recalling the wide-open vistas of Romantic landscape painting while at the same time staging otherworldly dystopias, McLeods CGI prints act as hybrid spaces that imply an almost infinite recombination of the past and present, the real and virtual. Beneath their seductively polished surfaces, of glimmering fortresses and floating geometric abstractions, lies a haunting stillness that comes forth in the aftermath of cataclysmic events. The cause of destruction remains unknown in these depopulated spaces -there are no people in these images, however much human traces remain in the rickety railways and empty fortresses. And yet, from the twilight of devastation shown in these strange dioramas lies possibilities for hope and rebirth in our own digital milieu through the artists new approaches to concepts as varied as ecological responsibility and the shared intersections between photography and painting.”
”I love old photos. I admit being a nosey photographer. As soon as I step into someone else’s house, I start sniffing for them. Most of us are fascinated by their retro look but to me, it’s imagining how people would feel and look like if they were to reenact them today… A few months ago, I decided to actually do this. So, with my camera, I started inviting people to go back to their future.”